title: Breath Controller e fiati

author: ~|含eeve|~

text:
Per chi volesse approfondire l'argomento... ;-)
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*        MIDI Wind Controllers FAQ - Version 1.2 - 24/3/95           *
*                                                                    *
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*                                                                    *
* Compiled by:  David Rees                                           *
*
dj...@star.ucl.ac.uk
                                  *
*                                                                    *
* NO WARRANTY:  THIS WORK IS PROVIDED ON AN "AS IS" BASIS. THE       *
*               AUTHOR PROVIDES NO WARRANTY WHATSOEVER, EITHER       *
*               EXPRESS OR IMPLIED, REGARDING THE WORK, INCLUDING    *
*               WARRANTIES WITH RESPECT TO ITS MERCHANTABILITY OR    *
*               FITNESS FOR ANY PARTICULAR PURPOSE.                  *
*                                                                    *
* Availability: This is available via anonymous ftp from             *
*
ftp.star.ucl.ac.uk
 in pub/djxr/                      *
*                                                                    *
* See also:     Periodic postings on wind-l, emusic-l, synth-l,      *
*               rec.music.makers.synth,
rec.music.info
 and           *
*               alt.music.makers.woodwind
*                                                                    *
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*                      Table of Contents.                            *
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Section 1: Introduction.
1.1  What is a MIDI wind controller?
1.2  What is wind-l?
1.3  What wind controllers are available?
Section 2: Yamaha wind controllers.
2.1  What is the WX series?
2.2  What is the WX7?
2.3  What is the WX11?
2.4  What is the WT11?
2.5  What is the EW30 / WindJammer?
2.6  What is the WindTamer?
2.7  How do I remove a WX7 mouthpiece?
2.8  What should I look for when buying a second hand WX7?
2.9  How do I contact Yamaha?
Section 3: Akai wind controllers.
3.1  What is the EWI series?
3.2  What are the EWI1000 / EVI1000?
3.3  What is the EWV2000?
3.4  What are the EWI3000 / EWI3000m?
3.5  What are the EWI3020 / EWI3020m / EWI3030m?
3.6  What optional extras are available from Akai?
3.7  How can I get my EWI converted to an EVI?
3.8  How do I contact Akai?
Section 4: Others
4.1  What is the Synthophone?
4.2  What is the Lyricon?
4.3  What is the Casio DH series?
4.4  What are the Sting controllers?
4.5  Are there any others?
Section 5: Synths.
5.1  What should I look for in a synth module?
5.2  Is my synth suitable for using with a wind controller?
5.3  Where can I buy synth patches optimized for wind controllers?
5.4  How do I set up patches for wind control?
Section 6: Pricing Info.
6.1  How much do new controllers cost?
6.2  How much do second hand controllers cost?
Section 7: Suggested reading.
Section 8: Discography.
Section 9: Acknowledgments.
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*                         Section 1: Introduction.                   *
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1.1  What is a MIDI wind controller?
A MIDI wind controller can loosely be defined as an electronic instrument
that simulates a traditional wind instrument. This is usually a saxophone,
but others are available. It converts fingering/breath control etc. into
MIDI output that is used to control MIDI synths.
.....................................................................
1.2  What is wind-l?
wind-l is a mailing list devoted to wind controllers.
1.2.1 To get on it, send a message to:

lists...@morgan.ucs.mun.ca
with the following as the body of the message
        subscribe wind <YOURNAME>
where <YOURNAME> is your real name.
1.2.2 To post to this list, you can send messages to:

wi...@morgan.ucs.mun.ca
1.2.3 To unsubscribe (why would you want to do this?) send a message to

list...@morgan.ucs.mun.ca
with the following as the body of the message
        unsub wind
If this doesn't work, try contacting the list's owner:

and...@bransle.ucs.mun.ca
.....................................................................
1.3  What wind controllers are available?
Several different controllers are available, and are detailed in the
following sections. The most common are the Yamaha WX series and the Akai
EWI series.
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*                 Section 2: Yamaha wind controllers.                *
**********************************************************************
2.1  What is the WX series?
The WX series are the "professional" Yamaha instruments. They are based on
the saxophone, although look somewhat sleeker and more high tech.
The basic sensor inputs on the instrument are a breath pressure sensor, a
pitch bend (bite) sensor, and the keys.
When you blow into the instrument, at a certain pressure threshold a Note
On is sent.  The velocity of the Note On is based on how fast you attack
the note.  The instrument plays legato, in that if you key a different
note while maintaining breath pressure, the controller sends a Note On for
the new note before sending the Note Off of the first note.
While a note is on, the breath pressure sensor produces a stream of
continuous controller messages.  This is typically used to control overall
volume and brightness.
There's a set of octave switches on the underside of the instruments,
controlled by the left thumb.  The octave ranges of the fingerings
overlap, so it's possible to thumb the octave shifts at convenient points.
The mouthpieces look much like sax or clarinet mouthpieces.  There's a
reed, which doesn't vibrate, but if you bite into it you can vary the
pitch.  This is useful for bends and for vibrato. The WX7 also has a
pitch bend wheel controllable by the right thumb.
The WX7 is no longer made, but can be found second hand. The WX11 is still
in production.
......................................................................
2.2  What is the WX7?
The WX7 is the most flexible of the Yamaha instruments.  It includes a set
of pots to adjust the feel of the instrument, and a set of dip switches
for various configurations. These make it highly customizable, but can be
difficult to set up.
The WX7 has the following features:
Adjustable Breath Controller (threshold and pressure),
Lip Pitch Bend,
Pitch Bend Wheel,
Two playing modes (tight lip and loose lip),
Selectable wind flow to adjust wind resistance,
Standard Boehm fingering system (14 keys) with adjustable key height,
Key select (C, Bb, Eb and C one octave up),
Key range -2 to +3 octaves,
Program Change button,
Key Hold facility (if key hold is pressed while playing, that note
will sound in addition to all subsequent notes),
Dual-Play mode (similar to key hold but the WX7 will transmit the held
note and the lead line on two separate MIDI channels (1 + 2 or 3 + 4)),
Non-BC compatibility (control MIDI sound sources which cannot receive
Breath Control data),
Compact MIDI/Power Pack can be belt worn,
Weight 13.4 oz.
The WX7 always transmits Breath Controller (cc#2) or Channel Pressure
(a.k.a Aftertouch) messages in response to how hard you blow.  This is an
exclusive OR; you select one or the other with the DIP switch closest to
the mouthpiece.  IN ADDITION TO BC or Aftertouch, the WX7 can also
transmit MIDI Volume (cc#7) messages. You turn them OFF or ON via the
second DIP switch from the top.  If you send MIDI Volume messages, they
appear always to be exact copies of the BC (or Aftertouch) messages; in
other words, they are technically redundant.  The WX7 seems to do the
following:
        a.  It samples your breath pressure at some set sampling rate.
        b.  It digitizes that breath pressure to a value between 1
                and 127.  If a note is in progress, and if this
                integer value is the same as the previous breath value
                transmitted, go back to step a.
        c.  If the first DIP switch is set for BC, it puts that value
                in a cc#2 message and sends it down the line.  If the
                first DIP switch is set for Aftertouch, it puts the
                value in an Aftertouch message and sends it down the
                line.  Always one or the other.
        d.  If MIDI Volume messages are turned on (via the 2nd DIP
                switch) then it takes that same integer value, puts it
                in a cc#7 message, and send it down the line too.
        e.  Go to step a.
While technically redundant, the MIDI Volume (cc#7) messages may be useful
in practice.  Suppose that you have been playing Yamaha FM synths that are
programmed to modulate volume and timbre with BC messages.  Then you add a
Roland synth to your setup, and it CAN'T respond to BC messages.
Solution:  program the Roland synth to respond to MIDI Volume messages
(almost any synth can be programmed to make cc#7 modulate volume), turn on
MIDI Volume messages from the WX7, and you're back in business.
The WX7 was not sold with a dedicated synth, so there was obviously some
pressure to make it compatible with various external synths, many of
which, at the time, had severe restrictions on what kinds of MIDI messages
they could be programmed to respond to.
Because breath messages make up the vast majority of MIDI messages
transmitted by the WX7, turning on MIDI Volume messages almost doubles the
number of messages going down the line.  (The fact that this situation
does not seem to lead to MIDI clog suggests that when transmitting ONLY BC
(or Aftertouch) messages, the WX7 could sample breath pressure at least
twice as fast, which might make fast crescendos and decrescendos a bit
smoother.)
The WX7 requires a BT7 battery pack which both powers the unit and provides
a MIDI out.
............................................................................
2.3  What is the WX11?
The WX11, which was usually sold with the WT11 sound module, is less
flexible than the WX7, but is said to be easier to play without glitches.
It transmits ONLY cc#2 in response to how hard you blow, with no
possibility of Aftertouch or MIDI Volume messages. This is often a
problem, but it can fairly easily be overcome by feeding the output of the
WX11 through a MIDI mapper. Possibilities include the WindTamer (a
rackmount unit designed especially for WX11 users that maps cc#2 to cc#7
AND provides some other nice features, see below), Anatek Pocket Mapper, a
trivial MAX program running on a Macintosh, etc.
A companion piece to the WX11 is a synth module, the WT11. (See next
question.) If you don't use the WT11 you'll need the separate BT7 battery
pack.
Specifications:
Sensors - wind sensor, lip sensor
Keys - 14 keys (Boehm fingering)
        + 5 octave shift keys (-2,-1,+1,+2,+3 oct)
Switches - Setup, Hold, Program Change
Trim control - Lip zero
Connections - Special connector (power and MIDI out)
MIDI Transmit channel - 1
Dimensions (L x W x D) - 596.5 x 65 x 69.4 mm ( 23.5" x 2.5" x 2.75" )
Weight - 420g (15oz)
Supplied accessories - Soft case, cable, strap, polishing cloth
............................................................................
2.4  What is the WT11?
This is a 4-op FM synth (a la TX-81Z or DX-11) with a few digital effects,
and programs specifically designed for wind control.
Specifications:
Sound source - FM tone generator (4 operators, 8 algorithms)
Simultaneous notes output - 8 note polyphony (last note priority)
Internal effects - 10 digital effects
        (Hall, Room, Plate Reverbs, Delay, L/R delay, Stereo echo,
        Distortion & reverb, Distortion & echo, Gate reverb and
        Reverse gated reverb)
Internal Memories - Preset performances x 96, User performances x 32,
        Preset voices x 96, User voices x 32, Program change table x 1,
        System Setup x 1.
External Storage - Cassette, MIDI Bulk Dump
Display - 16 character backlit LCD
Audio Connections - OUT L (MONO), OUT R, PHONES
MIDI Connections - IN, OUT, THRU
Other Connections - WX In, Cassette, 2 x footswitch (MEMORY INC and DEC),
        DC 15V IN
Power requirements - 15V @ 500mA (from PA-1505 Adaptor)
Dimwnsions (W x H x D) - 310 x 43.2 x 221mm (12 3/16" x 1 11/16" x 8 11/16")
Weight - 1.2kg (2lb 10oz)
Supplied accessories - PA-1505 Power Adaptor, Cassette Cable
............................................................................
2.5  What is the EW30 / WindJammer?
The WindJammer and the EW30 are the same thing. It is a hook-em-while-
they're-young version of the WX11/WT11 combination, sold through Yamaha's
band instruments division.  The most serious limitation seems to be the
lack of the "reed" for pitch-bend. Also the keys are buttons which have
been said to be perhaps a bit difficult to play.
............................................................................
2.6  What is the Wind Tamer?
[While not strictly a Yamaha product, its specific use with the WX7/WX11
justifies its inclusion here.]
The WindTamer is a 1 unit rack mount box, black, maybe six inches deep.
The front panel has a three digit, one-inch red LED display, a jack for
the supplied WX cable, and a toggle switch used to select PLAY or SETUP.
The back panel has a MIDI out port, a jack for the supplied wall-wart
power supply, and a fuse holder. There is no On/Off switch.
Features:
1) It supplies power to a WX7/WX11 via the custom cable, replacing the
WT11 and/or the BT7.
2) It can map controller #2 to one of four options:
        controller #7 (volume), #7 with velocity set to 127,
        controller #1 (modulation), or controller #10 (pan),
or you can set it to pass #2 unchanged.
3) You can select patch changes 0-124 via the five octave buttons on the
WX. Think of the buttons as being numbered 0-4. Pushing 000 transmits
patch change 0. 004 = change 4. 010 = change 5. 444 = 124.  That's right,
all you have to do is convert from base five to decimal (or vice versa) in
your head! Fortunately, the manual has a chart showing all the
possibilities.
The WindTamer costs $225.
Contact:
        Doug Smith
        Mutech, Inc.
        1146 Mopac Ct.
        Indpls, IN  46217

(317) 885-9475
Posting from Doug Smith to wind-l, 14/2/94.
"For those of you who have expressed interest in the Wind Tamer, here is
the story.  My partner and I (who both have full time jobs) borrowed a
very small amount of money to begin building the Wind Tamer.
Unfortunately, we did not now how expensive the FCC testing was going to
be and that blew away any profits we had planned to use to keep building
Wind Tamers and our other products that we have designs for.  If you use a
Yamaha WX7 or WX11, The Wind Tamer lets you access virtually any synth by
remapping controller #2 to #7, eliminates the battery power pack and
increases the program changes from 5 to 125.  If anyone is interested,
please contact me at
DOAS...@INDYVAX.IUPUI.EDU
"
............................................................................
2.7  How do I remove a WX7 mouthpiece?
[Ken Beesley posted the following to wind-l. Please be careful, and read
the disclaimer at the top of the FAQ before following the instructions.]
"First of all, don't try to twist it.
The WX7 mouthpiece consists of the external part you see, including the
attached reed, and an rounded oblong "stem" about 1.5 centimeters (about
0.6 inches) long that fits inside the body of the instrument.
The WX7 mouthpiece is quite snugly fitted, with two rubber-band like seals
fitted like piston rings around the oblong stem. I assume the WX11
mouthpiece is the same.
I remove the mouthpiece occasionally for inspection and cleaning. Some
players find that gunk can get in there, clogging the openings to the
breath-pressure sensor and to the breath-exhaust tube that leads down to
the bottom of the instrument. Best prevention: wash your mouth out with
water before you play, as with any wind instrument.
Before removal, be aware that inside the mouthpiece is a thin metal lever,
one end of which normally rides on the reed. You can see this end through
the mouthpiece tip opening. The lever extends back through a rubber shield
to the actual lip-pressure sensor. This metal lever (and perhaps the
sensor itself) are all too easily damaged when the mouthpiece is off.
I remove the mouthpiece by seizing the body of the instrument firmly with
one hand, the mouthpiece with the other, and pulling them straight apart.
Slow and firm. Wiggle the mouthpiece from side to side just *slightly* if
it's stuck. Do not twist - the inserted stem is oval rather than round.
Keep a firm grasp on the mouthpiece and especially on the body so that you
don't drop anything when they come apart.
Because the lip-pressure lever/sensor is so vulnerable when naked, be sure
to replace the mouthpiece (slowly and firmly) as soon as possible.  A thin
coating of petroleum jelly on the rubber-band rings will help make the
next removal a bit smoother."
............................................................................
2.8  What should I look for when buying a second hand WX7?
The WX7 was sold originally with a case, an extra mouthpiece, a couple of
small rubber plugs that could fit into the breath tube inside the
mouthpiece (to increase the blowing resistance), a BT7 power pack, a MIDI
cable, a cable from the controller to the BT7, an extra (5 meter?)
extension cable that can be placed between the controller and the BT7, a
neckstrap, and some little pads that can be stuck under the WX7 key
bumpers to adjust the amount of key travel. There was a small screwdriver
attached to the shorter cable. So look to see that everything is there.
Make the seller rummage about for missing parts.  Try to get the manual.
The best way to test the WX7 is (somewhat counterintuitively) away from a
synthesizer. Until you have good wind-sensitive patches to work with,
you'll have great difficulty telling if a problem should be traced to the
controller or the synth or the patch programming itself.
What you want to do, if at all possible, is to see if the WX7 is
transmitting MIDI messages correctly. This can be done with programs like
midiscope or a simple MAX program. It is complicated by all the DIP
switches and trim pots.
To start:  Hold the WX7 with the back toward you and the mouthpiece
pointing up.  Open the rubber switch cover and move all the DIP switches
to your left.  In this position, the WX7 should transmit Breath Control
messages (cc#2) when you blow.  Blow and check midiscope (or whatever) to
make sure.
Then move the top DIP switch to the right. It should stop sending cc#2 and
start sending Channel Aftertouch messages.
Move the 2nd DIP switch from the top to the right, and the WX7 should
start sending cc#7 (MIDI Volume) messages in addition to the cc#2 or
Aftertouch messages selected by the top switch.
Also check to see that both the lip sensor and the thumb wheel are
transmitting Pitch Bend messages. If not, the trim pots could be wildly
misadjusted, or the lip-pressure sensor may be broken or bent.  This
happens a lot when people take off the mouthpiece.
If you have trouble getting a response, the apertures inside the
mouthpiece may be clogged. (See previous question.)
The best plan, if you can possibly arrange it, is to find another
successful WX7 player to do the testing.  The WX7 is a great little
controller, but all the setup options can make it a nightmare for a
beginner.
............................................................................
2.9  How do I contact Yamaha?
USA
        Post Office Box 6600
        Buena Park, CA 90622-6600

(800) 443-2232
 Customer Service

(800) 854-3619
 Technical Service

(800) 443-3548
 Parts/Manuals
        Yamaha International
        6600 Orangethorpe Avenue
        Buena Park, California 90620

(714) 522-9011
        Yamaha Technical Help (California)

(714) 522-9011
UK
        Yamaha Kemble
        Sherbourne Drive
        Tilbrook
        Milton Keynes
        MK7 8BL
        (0908) 366700
****************************************************************************
*                    Section 3: Akai wind controllers.                     *
****************************************************************************
3.1  What is the EWI series?
Like the Yamaha WX's, the Akai EWIs (Electronic Wind Instruments) are based
on the saxophone.
These have touch sensitive keys which take some getting used to, since
just touching a key produces a note. ie. you can't rest your fingers on
the keys like on a real woodwind instrument, although to counter this you
can buy an EWI-FR finger rest.
The Akai wind controller is pretty versatile. When using an external sound
module, you can program up to 4 note chords. Each note of the chromatic
scale can be set to a (1), 2, 3, or 4 note chord. (It has nothing to do
with which fingering you use to play the note.) When setting up your
chords, you just pick which notes will actually sound when you play a
particular fingering on the controller. It takes some advance planning for
a piece, but can be well worth it.
Also, you can get control over dynamics on a sound module by using a line
in jack on the Akai. This loops the module back through the Akai before
going to the mixer. When doing this you can mix the ratio of volume
between the Akai and your sound module. This is done on the Akai.
A dual foot pedal with a stereo plug allows you to change patches up and
down while playing.
The following models have been made:
EVI1000 Electric Valve Instrument is a controller
EWI1000 Electric Wind Instrument is a controller
EVW2000 is an analog synth module for the EVI1000/EWI1000
EWI3000 is a controller
EWI3000m is a tabletop analog synth module for the EWI3000
EWI3020 is a controller
(looks very similar to the EWI3000: perhaps the only difference is the
colour)
EWI3020m is an analog synth module for the EWI3020
EWI3030m is a PCM sound module for the EWI3020
............................................................................
3.2  What is the EWI1000 / EVI1000?
The Akai EWI1000 (Electronic Wind Instrument) / EVI1000 (Electronic Valve
Instrument) are vehicles to introduce MIDI to the horn player. Developed
from the "Steinerphone", created by Nyle Steiner, by using traditional
sax-like and trumpet-like fingerings.  Feature include a seven octave
range, touch sensitive keys (no moving parts), breath sensor in the
mouthpiece for control of dynamics and timbre. Biting the lip sensor in
the EVI controls the amount of glide while glide on the EWI is controlled
by a touch responsive glide sensor. Lip sensor pressure on the EWI
controls vibrato and modulation and a vibrato lever has the same effect on
the EVI. Both instruments have a special touch sensor control allowing the
player to bend note up or down.
............................................................................
3.3  What is the EWV2000?
The EWV-2000 sound module is usually sold with the EWI1000 or EVI1000, and
consists of a programmable analog synthesizer with 2 VCO's, 3 Filters, 2
Envelope Generators and 2 VCA's. It can perform as two parallel
synthesizers with two different sounds or as a single complex synthesizer.
Breath and lip pressure can control vibrato, pulse width, modulation,
filter modulation and volume. The three different filters allow the
creation of resonant formants for simulations of cups, mutes and plungers.
External input allows other instruments to be processed through the
EWV2000. Other feature include wave envelope FM, 64 user programmable
memories, and a 16 character backlit LCD. Additionally, the EWV-2000 is
equipped with a MIDI out jack. Patches (all patch data/single voices) can
be saved on cassette. There is no MIDI dump of patches, but then again you
couldn't dump the patches back to the EWV2000 via MIDI, since there is no
MIDI in.
............................................................................
3.4  What are the EWI3000/EWI3000m?
The EWI 3000/3000m combination includes a wind controller (3000) and
dedicated analog synth module (3000m).  The synth module is voltage-
controlled, and also emits MIDI information.  The controller is basically
sax-like, with a number of alternate fingerings, and includes eight metal
octave rollers.  The mouthpiece is tubular and nothing like that of an
acoustic single-reed woodwind;  it contains a bite sensor that controls
vibrato. The controller can be used with or without a plug that prevents
air from flowing through the instrument.  All keys are non-movable touch
sensors, and there is a touch sensor sensitivity adjustment.  The sensors
may fail to operate cleanly with extremely dry hands.  The right thumb
rests on a grounding plate, above and below which are pitch bend up and
down sensors.  Portamento is controlled (to some extent) by a metal strip
next to the octave rollers.
The 3000m module contains knobs to adjust breath sensitivity and gain,
portamento time, pitch bend sensitivity and gain, vibrato and volume, with
a bar-graph mode for the LCD display that aids in setup.  There is memory
for 100 patches, of which the last 50 are user-programmable. The first 30
factory patches are for use with the EWI controller, while the next 20 are
set up for keyboards (with the last 10 being bass patches).  The synthesis
engine is a 4-oscillator 2-voice unit-- there are 4 VCOs, with 2 VCOs
feeding each of two resonant (but non-formant) filters and amplifiers.
(This is apparently different from both the earlier EWV2000 and the later
3020m, which are 2-oscillator 2-voice.) Each VCO is fed by a triangle,
sawtooth, or square wave (the square wave may be pulse-width-modulated),
or by the external analog input, which allows you to control an external
synth with the EWI's filters and amplifiers.  For use with external MIDI
keyboards, the module has envelope generators (breath control may be
turned off).  All 12 chromatic transpositions are supported.
The module emits MIDI Note On, Note Off (actually Note On/zero velocity),
pitch bend, portamento (though the implementation chart doesn't
acknowledge this), and one of {breath controller, mod wheel, channel
aftertouch, volume, or off}.  Note-on velocity is fixed at a
user-selectable value (64-127).  There is memory for 16 user-defined
chords of up to four notes, a different one of which may be assigned to
each of the twelve chromatic pitches (the chords work with an external
MIDI module, not with the analog unit).  The 3000m also has a MIDI in,
unlike the EWV2000, and can be driven by an external keyboard or sequencer.
Folk wisdom asserts that the EWIs in general are a bit harder to master
than the Yamaha controllers, but when driving their dedicated analog
modules are capable of a greater degree of expressiveness than is a
MIDI-only unit.  In my own experience, the difference is real, but subtle,
at least with well-programmed MIDI wind patches.
............................................................................
Or, from Akai promotional material,
"An Expressive Encore
Put the Human Feeling and Emotion Back Into Your Music
There have been many advances in electronic musical instruments since the
first days of MIDI yet musical expression was limited to what could be
played on a keyboard. Now, Akai is widening the expressive horizons with
the introduction of the new EWI3000 Wind Controller and the EWI3000m Sound
Module. The EWI3000 will give you the freedom of expression and "human
feel" that musicians have been searching for all these years. The powerful
expressive capabilities of the EWI3000 and the rich sonorous sound of the
EWI3000m will let you soar to new levels of musical expression and
creativity.
The Akai EWI3000 MIDI Wind Controller and the EWI3000m sound module set is
a completely new type of electronic instrument that even unexperienced
wind players can quickly and easily master. Like the saxophone, the
EWI3000 uses fingering similar to a recorder which makes it very easy to
learn and play. And due to the use of a special easy to blow breath
sensor, beginners who might have a difficult time with acoustic
instruments such as the saxophone can quickly and easily learn to control
sounds using the Akai EWI3000.
The EWI3000 and the EWI3000m sound module are designed as a complete set
that is capable of extremely sensitive musical expression. The EWI3000m
contains an exquisite selection of professionally programmed electronic
wind programs so you can start playing beautifully expressive sounds right
from the beginning. There is no need to use an external synthesizer or
sampler.
The operation of these instruments is designed to be intuitive and easy to
understand so you can spend your time playing, not figuring it out. And
because the EWI3000 (in conjunction with the EWI3000m) provides full MIDI
implementation, you can also use it as a master MIDI controller that
provides the utmost in human expressive capabilities whether you are
playing a lead solo or a lyrical symphonic line. With the EWI3000, you
will be able to play lines and phrases that would be impossible on a
keyboard controller, And you can start playing immediately.
A New Expressive MIDI Controller and a Colorful Sound Module
The EWI3000 and EWI3000m are the successors to the EWI1000 Wind Controller
and the EWV2000 Sound Module. Both of these highly acclaimed instruments
have been used by top performers throughout the world and have developed a
reputation as being the most expressive and warm sounding electronic
instruments ever designed. We have now taken this proven concept and
refined it even further. By both enhancing and enriching the sonic
capabilities and providing more functional capabilities, we have created a
new cost-effective MIDI wind controller and sound module unlike any other
ever designed. The EWI3000 will let you have expressive control not
possible with any other type of MIDI controller. And with its incredibly
fast and sensitive response, you can control other MIDI sound Modules,
synthesizers, and samplers as well as the EWI3000m. This instrument is a
powerful new expressive tool for both wind players and other musicians who
are seeking creative new MIDI tools.
The Power of MIDI Control with Human Expression
The EWI3000 gives you unsurpassed performance control and the ability to
.shape any musical line with tremendous feeling and expression. The
EWI3000 has a special breath sensor, lip sensor, a touch sensor for pitch
shifting, volume controlled pulse width, vibrato, and glide. You can play
synthesizer sounds and control external MIDI modules with the expressive
characteristics of a brass instrument. The EWI3000 gives you the ability
to perform tonguing just as on a real brass instrument. In addition to
being able to play the most incredibly expressive monophonic lines, you
can also play chords too. Using any MIDI polyphonic sound module, it is
possible to program and play chords with up to four voices.
Rich Analog Synthesizer Sounds with Dual  Voices
The EWI3000m analog sound module uses four VCOs to create its incredibly
full warm sound. The sound module contains 4VCOs, 2VCFs, 2VCAs, and 4EGs.
You can also mix two different sounds together giving you the freedom to
create rich powerful sounding programs. The back-lit 16 character LCD will
guide you easily through the editing operations and provides you with a
monitor system to check the control sensors. The EWI3000m with its
convenient desktop design, is very small and light so it can be easily
carried with you wherever .you go. And you are not limited to just
woodwind and brass sounds either. The low frequency response of the
EWI3000m in particular is incredible - ideal for the rich vibrance
necessary for creating effective bass programs. And you'll find that the
analog sounds of the EWI3000m are ideal for numerous other types of sounds
as well. It is even possible to use two EWI30OOm's together for the
ultimate rich analog sound or as a powerful and unique creative
performance tool.
Large Memory Storage for Easy Program Management
There are a total of 100 memory locations available for storing your sound
programs. The storage locations are arranged in two banks of 50 memories
including 50 extremely musical programs created by a professional artist.
These 50 memory locations can also be rewritten for storing your own
custom programs. For performing, sounds can be easily arranged and
organized in the order you require them to produce easy access on stage
and during recording work. Programs may also be selected using a
footswitch allowing you to keep both of your hands free for performing.
Incredible Expressive Control Never Possible Before
The EWI3000m features a MIDI IN connector allowing you to control it from
an external MIDI controller or sequencer for Maximum flexibility. This
lets you use the rich and warm sounds of the EWI3000m with any MIDI
controller you are using so your favorite sounds will always be
accessible. The EWI3000m also features an EXT IN connector that lets you
control the sound from an external MIDI sampler or synthesizer using the
EWI3000's expressive breath controller. This powerful capability will let
you have expressive control like you've never experienced before. The
EWI3000 simply provides you with superior control. And by mixing and
editing sampled sounds along with the EWI3000m analog sounds, you can
explore entire new sonic territory with full human expressive control -
perfect for creating an emotional impact on your audience. Try out the
EWI3000 yourself and see what the excitement and fanfares are all about."
 ----
SOUND LIST
T.STRUT / CAT WALK / FEEDBACK / PRICKLY / PASSION / FANTASIA / BRUTE /
QUACK / SILKY / ILLUSION / FLUTE / OBOE / TRUMPET1 / TRUMPET2 / HARMONIC /
STRING / MUTE TP / SAXES / CLARINET / BRASSENS / GENTRY / FOG SET /
SPARKLE / JANGLE / FEEDBACK2 / PANPIPES / SMASH / AIR WAVE / WINDY /
EXT.IN
 / DUCKY / HOT WAVE / BIG SHOT / COSMOS / HIP SKIP / SOFT PAD / AIR
PAD / MIST PAD / CLOUDY / ELFIN / KNOCKBAS / DISTBASS / PLSFMBAS /
SLAPBASS / FAT BASS / WOW BASS / MAD BASS / NET BASS / RESOBASS / FUNKBASS
01~30 for EWI
31~50 for MIDI
51~00 (not shown) are rewritable. The above 50 Patches are duplicated in
slots 51~00.
EWI3000m SPECIFICATIONS
Type: Special sensor controlled, programmable analog synthesizer
Voice: Monophonic/Dual
Sound Source: 4VCO ( |\, /\, |-|,  FM on/off, sync on/off, EXT)
Number of Sounds: 100 (50 user programs are included)
Display: 16 Character backlit LCD
Function Volume: Breath (sense/adjust), Glide (time/adjust), Bend
(width/adjust), Vibrate, Volume, Tune (x50 cent), EXT Level
Function Key: Transpose (12 step: -D# ~C~ +D#), Auto Tune (VCO/VCF),
Utility (memory protect on/off, key priority, bulk dump, verify, 16 chord
pattern), MIDI (send/receive channel, program change TX, RX, on/off, MIDI
send velocity, breath control), Monitor (monitor following control:
breath, glide, bend, vibrate), Write, Sound/Prgm, Glide SW (glide on/off),
Edit, Source 1/2, Value (up/down), Select (0~9), Next (up/down)
Parameter (source 1 & 2):
VCO-A (Frequency, Fine Tune, Wave ( |\, /\, |-|, off ), Pulse Width,
Synchronize [on/off], Modulation, Balance)
VCO-B (Frequency, Fine Tune, Wave ( |\, /\, |-|, off ), Pulse Width,
Synchronize [on/off], Modulation, Balance)
VCF (Cut Off Frequency, Resonance, Key Follow, Attack Time, Decay Time,
Sustain Level, Release Time, Depth, Velocity)
VCA (Output Level, Attack Time, Decay Time, Sustain Level, Release Time,
Depth, Velocity),
LFO (Speed, Depth, Delay)
VIB/BEND (Bend Width, Bend Depth, Glide Time- Source 1, 2 are same -)
BREATH INTENSITY (Breath VCF, Breath VCA, Breath PWM, Breath Resonance,
Breath VCO Balance)
TRIGGER (Single/Multi),
CHORD (Maximum of 4 note chord for MIDI output, 12 key chord assign, 100
program),
LABEL (Maximum of 8 characters: alphabet large letter, number, space, 28
signs)
Display LED: Breath, Glide, Bend, Trans, Sound/Prgm
Connector: Instrument (EWI3000 only multi connector), Program UP (6.3mm
standard phone jack), Head Phone (6.3mm monoral/standard stereo phone
jack), Line Out (6.3mm standard phone jack), EXT in (6.3mm standard phone
jack), MIDI IN/OUT(DIN 5P), DC Input (3.5mm mini plug, tip=positive)
Power: DC 15V 7OOmA (Use AC adaptor)
Size: 351(W) x 78(H) x 241(D)mm
Accessory: AC Adaptor
EWI3000 SPECIFICATIONS
Fingering: Saxophone standard and EWI type
Size: 560(L) x 34(W) x 65.5(D)cm
Weight: 6OOg
Accessories: Multi Connecting Cable, Slinger, Cleaning Cloth
OPTIONS:
EWI-FR Finger Rest
SC-X3000 Soft Case
..........................................................................
3.5  What are the EWI3020 / EWI3020m / EWI3030m?
>From Akai promotional material.
WIND SYNTHESIZERS WITH PRECISE CONTROL, LIVELY SOUNDS AND NATURAL
EXPRESSIONS
Even if you've never played a woodwind instrument before, you'll enjoy
Akai EWI wind synthesizers.
The EWI3020 is a wind controller that lets you play naturally and with
emotions. The EWI3020m is an analogue synthesizer module featuring warm,
expressive sound. And the EWI3030m is a digital synthesizer module
providing high-quality, realistic sound from PCM modules. No keyboard
instrument can match the ease and flexibility of our wind synthesizers.
The Wind Controller:
Recreating the playing style of woodwind instruments
The EWI3020 responds precisely to the feeling of the player through
breath, lip and touch sensors. Controls include pitch, volume, pulsewidth,
vibrato and glide that infuse life into sound modules. Unlike
keyboard-type controllers, the wind controller can provide a subtle,
natural wind sound. Together with the EWI3020m or EWI3030m sound module,
it puts at your command a versatile instrument with colourful sound and
flexible styles.
The Analogue Sound Module:
Flexible expression and rich sound
The EWI3020m is an analogue synthesizer featuring 2 VCOS, 1 VCF, 1 VCA and
2 EGs. It boasts the ability to realistically express a wide range of
sounds, from subtle to powerful. The modulation function lets you combine
any of seven modulation sources with any of 10 destinations, to add up to
tremendous flexibility, There are also string and bassoon filters that
help create natural string and woodwind sounds. What's more, the
synthesizer comes with 50 preset banks with select sounds that you can use
immediately just by connecting it with the EWI 3020 controller.
The Digital Sound Module:
PCM high sound quality
The EWI3030m is a digital synthesizer equipped with two PCM sound modules.
Seventy-five PCM waves, digitally sampled from live sound sources, are at
its unit's heart- sounds that you can modify using filters, LFOs, ENVs,
breath controllers and vibrato, to synthesize unlimited variations. You
have sounds that you'd normally have to obtain from external sound modules
through MIDI. Moreover, 128 selected sounds are preset for instant use
with the EWI3020 controller. You can add a final touch using reverb- 24
types in all.
Extra ease of use, especially on stage
The EWI3020m and EWI3030m let you assign any preset or user-created sound
to up to 100 or 99 programmes, respectively. You can arrange the necessary
sounds in order of play, which adds to extra ease of use during live
performance or recordings. Of course, there's a foot switch for program
up/down, delay settings for key and a breath-sensitive velocity output
(1-127).
Controlling EWI modules and external MIDI equipment
With the INSTRUMENT OUT/IN jacks and optional EWI-B15, you can use a
number of EWI3030m, EWI3020m, and EWI3000m units, together or singly,
depending on the song. Moreover, the MIDI OUT lets you control an external
MIDI module. Re-route the external module's audio outputs to the EXT IN on
the EWI3020m or EWI3030m, and then you can control sound with breath on
the EWI 3020. You can import sounds from an external synthesizer or
sampler for processing or mixing. When you use external MIDI sound modules
through MIDI, you can play chords of up to four notes. You can also
control the EWI3020m and EWI3030m as an external sound module from the
keyboard through MIDI IN.
Sound List- EWI3020m
---------------------
Strut2 / Judd'94 / Windy! / Fluty / EWI3020/ Cindy! / Cloudy / Judd3020 /
Mighty / Delicate / Flute / Clarinet / Oboe / Harmonic / VI / Cello /
Trumpet / String / Brass / Ocarina / Brass-1 / F.Back! / Smoky / Stony /
Smash! / Impress / Image / Limp / Sparkle / Simple / Juggle / Gloom / Blow
/ Jeff / PopHorn / Rex! / Gently! / Norton / Boxer/ Native / Fog Set! /
Depot / Silky /Axis / Orion / Prime / Stream / Lotus / SyncWave / Ext+Osc
/ Ext!
Sound List- EWI3030m
---------------------
Trumpet 1 / Trumpet 2 / Mute Tp 1 / Mute Tp 2 / Piccolo Tp / Plunge Tp /
Trombone 1 / Trombone 2 / Mute Tb / Flugelhorn / Soft Flugel / French Horn
/ Cornet 1 / Cornet 2 / Solo Bugle / Brass Sect / Synth Brass / Soprano
Sax / Alto Sax 1 / Alto Sax 2 / Tenor Sax 1 / Tenor Sax 2 / Soft Tenor /
Baritone sax / Grr sax / Oboe / English Horn / Bassoon / Clarinet /
Piccolo / Flute / Pan Flute 1/ Pan Flute 2 / Shakuhachi / Reed / Reed
Organ / Harmonica / Panpipe 1 / Panpipe 2 / Chiff Pipe / Chiff FI / Chiff
Str / Blow Bottle / Arab Oboe / Bagpipes / Bucket Mute / Shanai / Flute
Vox / Fuzz Guitar / OD Guitar / F.B. Guitar / 5th Guitar / F.B. Guitar 2 /
Kokyu / Fiddle / Bowed Glass / Bell Attack / Attack Flute / Breath Vox /
Breathy Fl / Vox Wave / Digi Bow / Spike Lead / Blow Lead / Mix Tp / Solo
Violin / Strings / Slap Bass / Pili / Teagum / Breath Flute / Analog Lead
/ Synth Tp / Reso Bass / Synth Sax / Ocarina / Analog Horn / Breathy Horn
/ Whistle / Horns / Stack Mute / Stack Sax / Soft Guitar / Mad Bass / Oct
Lead / Synth Lead / Chiff Vox / Harmo Lead / Sax Section / Breathy Lead /
Crazy Lead / Soft Horn / Fluty Horn / Square Lead / Saw Lead / Delicate
Horn / Soft Reed / Tb Section / Pipe Lead / Chameleon Tp / Easy Tp / Easy
Mute Tp / Easy T. Sax / Easy T. bone / Easy Violin / Easy Guitar / Easy
Kokyu / Easy Flute / Easy Harmoni / Easy Voice / Oct Horn / Spike Pipe /
Stack Bass / Synth Harmon / Oct Guitar / Vox Strings / Attack Lead / Oct
Reed / Shaku Lead / 5th Lead / TRI / SAW / LAMP / SQUARE / Ext+Tp /
Ext+Pipe / Ext+Guitar / EXT. IN
EWI3020 ELECTRIC WIND INSTRUMENT
* Special sensor woodwind type controller
* Fingering: Saxophone-style/EWI system
* Control range: 8 octave
* Dimensions/Weight: 560L x 34W x 65.5D (mm); 6OOg
EWI3020
SOUND MODULE for EWI
* Voice: Monophonic
* Number of sound tones: 100 maximum (50 user-programmable)
* Sound source: 2 VCOs
* Main sound parameter: VCO-A, VCO-B, VCF, VCA, LFO, ENV1/2, CHORD, LABEL,
MOD (Modulation function)
* Display: Back-lit LCD with 16-character
* LED Indicators: BREATH, GLIDE, BEND
* Function Volumes: TUNE (+/- 50 cents), VIBRATO, BREATH (SENSE/ADJUST),
GLIDE (TIME/ADJUST), BEND (WIDTH/ADJUST), EXT. IN, VOLUME
* Function Keys: AUTOTUNE (VCO/VCF), TRANSPOSE (12 step, E-C-D#),
SOUND/PROG,
WRITE, MIDI, GLIDE SW, (GLIDE ON/OFF), EDIT, VALUE (+/-), SELECT (O-9),
UP/DOWN
* Effects filters: OFF1,2
* Chord: Maximum 4 notes (for MIDI OUT only), 16 chord patterns, 12-Key
chord
assign
* 100 programs
* Terminals: INSTRUMENT IN (for EWI3000, EWI3020), PROGRAM UP/DOWN,
HEADPHONE, LINE OUT, EXT IN, MIDI IN/OUT THRU, INSTRUMENT OUT (for EWI3000m,
EWI3020m, EWI3030m)
* Dimensions/Weight: 483W x 88H x 4O8.8D (mm), 5.8kg
EWI3030M
SOUND MODULE for EWI
* Voice: Monophonic/Dual
* Number of sound tones: 128 maximum (user programmable)
* Sound source 2 (75 PCM WAVES) Ext-In
* Main sound parameter: WAVE A/B, A-B MIX, FILTER, REVERB SELECT, LFO, ENV,
VIBRATO, GLIDE, BEND, SOUND LEVEL, LABEL
* Display: Back-lit LCD with 16 character
* LED Indicators: BREATH, GLIDE, BEND
* Function Volumes: TUNE (+/- 50 cents), VIBRATO, BREATH (SENSE/ADJUST),
GLIDE (TIME/ADJUST), BEND (WIDTH/ADJUST), EXT. IN, VOLUME
* Function Keys: REVERB, TRANSPOSE (12 step, E-C-D#), SOUND/PROG, SENS,
MIDI,
EDIT, BREATH, WAVE A, WAVE B, A-B MIX, FILTER, REVERB SELECT, LFO, ENV,
VIBRATO, GLIDE, BEND, SOUND LEVEL, LABEL
* Effects filters: DIGITAL REVERB (24)
* Chord Maximum 4 notes (for MIDI OUT only), 16 chord patterns, 1 user
program
* 99 programs
* Terminals: INSTRUMENT IN (FRONT PANEL for EWI3020, EWI3000), PROGRAM
UP/DOWN, HEADPHONE, LINE OUT x 2, EXT IN, MIDI IN / OUT / THRU, INSTRUMENT
OUT (for EWI3000m, EWI3020m, EWI3030m), INSTRUMENT IN (BACK PANEL: for
EWI3020m, EWI3030m)
* Dimensions / Weight 483W x 88H x 4O8.8D (mm), 6.4kg
............................................................................
3.6  What optional extras are available from Akai?
* EWI-FR Finger Rest for EWI3020/EWI3000
* EWI-C1O 10m Cable
* EWI-B15 Breath Out Cable (1.5m)
* SC-X302O Soft Case for EWI3020
* EWI-CD WIND, WINDS
* EWI-CD Transition (N. Sumitomo)
* X335i Breath Controller for EWI3030m / EWI3020m / EWI3000m
............................................................................
3.7 How can I get my EWI converted to an EVI?
Nyle Steiner, the inventor of the EWI and EVI, and will convert an EWI to
an EVI The cost of this service is estimated at$150-$200. You must provide
him with an EWI controller (EWI3000 or later) and he will "gut" it and put
the innards into a newly redesigned EVI body. The final product will be a
controller that is compatible with the newer EWI sound modules.
The new EVI body is made of plastic, is lighter, easier to manufacture,
and is about 3" wide (more room for expansion. He said if you close your
eyes it feels the same in your hands as the old EVI.
Contact:
        Nyle Steiner
        3111 Evelyn St.
        La Crescenta, CA 91214
............................................................................
3.8  How do I contact Akai?
USA:    Akai Professional
        2344 Fort Worth
        TX, 76113
        Tel:
817-336-5114

ak...@pan.com

ak...@delphi.com
UK:     Akai UK
        12 Silver Jubilee Way
        Haslemere Heathrow Estate
        The Parkway
        Hounslow
        Middx
        TW4 6NF
        Tel: 0181 897-6388
        Fax: 0181 759-8268
Japan:  Akai Electric Co. Ltd.
        Electronic Musical Instrument Division
        335 Kariyado
        Nakhara-ku
        Kawasaki-shi
        Kanagawa
        Japan
****************************************************************************
*                            Section 4: Others.                            *
****************************************************************************
4.1  What is the Synthophone?
Simplisticly, the synthophone is a saxophone body with MIDI output.
In addition to standard features you would expect on any wind controller
the Synthophone also gives you aftertouch control, modulation control,
start/continue/stop for sequencers, 5 part harmony in any given key (3
preset styles and 6 user modifiable), chord variations through lip
pressure, 3 styles of pitch bend with 5 levels each, 5 part multi channel
mode with proper voice leading, freeze harmonies, optional thumb express
assignable for pitch bend/number of voices in a chord/lower-upper midi
channel/ bII Substitue Chords/ sustain, portamento, as well as many
others.  The other nice thing is when you find a setting you like,
including program change, midi channel, all of the above, you just save it
to the Synthophone.
It also has a very friendly use interface, which means the saxophone
players in particular can get immediate results. The instrument can be set
to feel and respond so much like a saxophone that you can play it right
away. The designer also puts your own custom altissimo fingerings on the
instrument so there should be nothing about fingering that will feel odd.
After you're comfortable playing it "like a saxophone" the other features
will keep you busy for a long time.
The Synthophone has a 'reed', but it is just to get lip pressure, it does
not vibrate.  The Synthophone 'range' is the normal sax range with
altissimo plus one octave up and one octave down for a total of about 5+
octaves.  Of course it is easy to move that up or down an octave across
the board.
The Synthophone accomplishes these and other commands by using
'non-standard' fingerings.  In other words there are certain key
combinations which get you into a control area, then allow to alter that
parameter.  These fingerings are largely used in setting up a sound, once
a sound is set up,(saved using a non-standard fingering) you mostly will
move from one sound to another via one non-standard fingering.  So there
is very little to remember in a performance situation.  The harmonies,
breath settings, mod wheel settings, lip settings, patch changes, midi
channel, etc. are all saved at once to the instrument when you find a
sound you like.
The Synthophone is priced at $3450.00.  This is the same price it has been
since 1987.  It is also available in a professional Selmer Paris alto
body, but I'm not sure what its price is.  (At $3450 it is in a Yamaha
student alto sax body.)
Contact:
        Martin Hurni
        Softwind Instruments
        Munstergasse 52
        CH-3011 Bern
        Switzerland
        Tel: (int.
+41) 31 311 28 20
        Fax: (int.
+41) 31 751 15 48
U.S. distributor:
        Softwind Instruments
        304 Newbury St. Suite #323
        Boston, MA 02115
        Tel:
617-969-4798
        Fax:
617-969-5698
............................................................................
4.2  What is the Lyricon?
There were 3 Lyricons manufactured by Computone, Inc., in the 1970's.
The original Lyricon was a wind controller which drove a computer that
generated overtones. It came with a delux plush lined case, and had a
shiny chrome finish and an elongated bottom piece. It used a form of
additive synthesis, where you dial in the amount of overtones you want,
and you could then blend that with the wind overtoned section. It had a
key switch for a fundamental of G, Bb, C, Eb or F and a range switch of
low, med or hi. Combined with two octave up keys, you had a functional 6
octave range. It also had glissando, portmento and "timbre attack", which
was sort of like chorusing.
The sounds were very expressive and there was quite a bit of control over
the actual sound. The down side was that, like early synths, there was no
way to "save" a sound. So the first Lyricon players had to know the way
the dials should be set for a sound, and hope they approximated those
settings. Other problems included it being incapable of controlling any
other sound source than its own computer, and adding more of the top
overtones could give it a very "buzzy" sound.
Later 2 other Lyricons were introduced. One of them had no sounds, and was
known as the Wind Synthesizer Driver. This unit had the ability to control
pitch through fingering, pitch bend through lip pressure, and through its
wind control outputs the performer would generally control VCA and VCF
information. The control was fairly elaborate with choices and settings
for each control voltage output.
The third Lyricon had its own built in synth, and was called the Lyricon
II. This came with a formed plastic case, and had a brushed aluminium
look. The bottom piece was a stubby "plug" that looked quite different
from the first Lyricon. The synth module was a 2 oscillator synth with a
choice of square or sawtooth waves, VCF and LFO, but no envelope
generator, since you controlled this with your wind and embouchure. It had
a patch point to connect to external CV/gate synths.
All of the Lyricons used the same saxophone style fingering system, with
two octave keys above the left-hand thumb rest.  The Wind Synthesizer
Driver also had a transposition footswitch feature, where a foot pedal
could be used to transpose the entire range up or down one octave. With
the Lyricon II you could do this from the control panel.
They all used a bass clarinet mouthpiece, with a sensor on the reed to
detect pressure.  There was a diaphragm which moved and changed the light
output from a LED which was in turn sensed by a photocell to give dynamic
control.
There were additionally some models put out just as the mouthpiece unit,
and they were used to control keyboard synths, much as a breath control
unit works on a Yamaha keyboard currently.  This occurred just as the
company went out of business.  Just before it went out of business in the
early 80's, the Selmer band instrument company took over distribution, but
was unable to market the instrument successfully.
A company called Innovations Ltd. later developed from Computone Inc.
Last known address:
        Innovations Ltd.
        PO Box 564
        Norwell, MA 02061
Last known contact (around '84): Bill Bernardi, one of the co-founders of
Computone.
............................................................................
4.3  What is the Casio DH series?
Casio made a DH-10, DH-20, DH-100, and DH-200, all of which were about the
same, though the later model claimed more sounds. They lack most
accidental keys, so you play them more-or-less like a recorder, which can
take a true sax player some time to get used to.
They are shaped like saxophones, have an internal speaker (at the "bell"),
audio output and MIDI output.  It is not the most expressive way to play a
MIDI module, but it does send velocity with its note on messages, and
channel after-touch as you change how hard you blow after sounding a note.
Fingering is mostly like a sax but there is an alternate fingering method
that you can select which allows many octaves of control.
The Casio is good for fun and basics or as a proof of concept, but one of
the Yamaha or Akai wind controllers will be a better choice if it is to be
your main controller.
There are also reports of a whole line of Casio DH horns that were not
available outside Japan. There is a DH-500 which apparently looked like
the DH-100 and DH-200 but had a cassette-tape capability for play-along.
There may be a DH-800 as well.
............................................................................
4.4  What are the Sting controllers?
There are two Sting controllers, both of which [I believe] are no longer
in production.
Sting EW1 synthesized, electronic wind instrument fingers basically the
same as a saxophone or recorder but can be customized with up to 2000
different fingerings available. Nickel plated instrument appears very much
like a clarinet with standard woodwind mouthpiece. Keys - 12 upper, 2
under, E flat and B flat fingerings, transmits a single conductor cable. A
pin lock jack for the connector & standard shielded cables can be used.
The EW1 includes a synthesis module with Threshold controls for wind and
lip, Lip control for vibrato, bend and filter, LFO for vibrato speed,
Transpose (E flt, F, D flt and C), Main oscillator with 3 octave range and
Sub Oscillator with octave control and detune. There are 64 preset sounds
and a MIDI out jack. The back panel includes inputs for foot switch
control of Sub Oscillator and CV control of LFO speed, Filter and Bend.
The Sting EW2 MIDI controller uses the same input unit as the EW1 but does
not include the synthesis module. The control unit ( a rack mount box) for
the EW2 has Wind threshold, Wind Modulation Wheel, Wind Dynamic, Moving
Threshold, Moving bend, Moving Modulation Wheel, Key transpose (E flt, F,
B flt and C), and Master volume on the front. The rear panel has 2 MIDI
out, 2 Velocity In, 2 Master outs, Program change, Sustain switch,
Headphone out and Key transpose jacks.
Contact:
        SSSound Co Ltd.
        Box No 1
        Kanie, Aichi
        Japan 497
............................................................................
4.5  Are there any others?
Yes...but I havn't got any details.
Artisyn SX01 MIDI Sax
Perkiphone MIDI acoustic trumpet
Suzuki MIDI Recorder SRW-100
****************************************************************************
*                           Section 5: Synths.                             *
****************************************************************************
5.1  What should I look for in a synth module?
You have to worry about synths and programming with wind controllers.
Most Synths and synth modules are designed with keyboard players in mind,
and some absolutely essential features, from a wind player's viewpoint,
are missing on a variety of popular synths.  Conversely, hyped features
such as number of voices and flexible envelopes aren't of compelling
interest.  Even velocity sensitivity isn't all that useful except for
programming attacks.
The most prevalent lapse is the lack of a legato, single-trigger, mono
mode.  On a lot of wind controller voices, you want to be able to play a
new note without have the synth envelopes re-trigger.  Many of the Roland
synths, for example, lack this feature, and you should have suspicions of
sample-based instruments in general.
The synth must offer musically useful control of volume and tone
parameters from the Continuous Controller 2 or After-touch.  Older and --
alas -- less expensive synths are suspect.  You want direct linear control
of the appropriate parameters (e.g. filter cutoff, FM modulator output,
vector mix.)
............................................................................
5.2 Is my synth suitable for using with a wind controller?
The following list is not a complete list of synths that are suitable for
using with wind controllers, but have all been reported as usable on
wind-l
        Akai EWV2000 (only suitable for Akai EWI/EVI - no MIDI IN)
        Akai EWI3000m
        Akai EWI3020m
        Akai EWI3030m
        EMu Proteus 1/2/3
        Ensoniq ESQ-1, ESQ-m, SQ-80
        Korg M1/M1R/T1/T2/T3
        Korg Wavestation/Wavestation AD/Wavestation SR
        Kurzweil K2000/K2000R
        MicroWave
        Oberheim Matrix 1000/12/6/6R
        Oberheim Xpander
        Yamaha DX7/TX7 & Compatibles
        Yamaha SY/TG77
        Yamaha SY99
        Yamaha TG55
        Yamaha TX802
        Yamaha TX81Z
        Yamaha VL1/VL1M/VL7
        Yamaha WT11
The following list *may* be suitable for wind controllers, but are to be
confirmed.
        Sound Canvas
Yamaha VL1/VL1M/VL7
-------------------
        The VL series are brilliant for wind controllers!
The VL1m (module version of VL1 keyboard) uses Physical Modeling Synthesis
- it simulates actual acoustic interactions between a sound generator
(reed, bow, trumpet-type mouthpiece) and a resonator (pipe, string).  It
does the computations for this in what I think is about 10 megs of RAM.
It is *not* a sample player. It has 2-voice polyphony, 5-band parametric
eq, several amplifier simulators, distortion settings, reverbs, delays,
and flanger.  The virtual controllers (assignable to physical controllers
like breath pressure, foot pedal, pitch bend) include growl, scream,
distortion, and a whole bunch of others.  It holds 128 voices (patches)
in 8 banks, saveable to DOS-compatible 3.5" floppy.
A VL7 is similar to the VL1 except that it can't do layers, it stores only
64 patches, and costs less...
............................................................................
5.3  Where can I buy synth patches optimized for wind controllers?
5.3.1   Patchman Music
        2043 Mars Avenue
        Lakewood, OH  44107
        U.S.A.
        Telephone:
216-221-8887
Large selection of patches available for nearly all synths listed above.
Cost: All wind controller volumes are $39.95 each plus $2 shipping &
handling within the U.S. Foreign orders add $10 for shipping & handling.
Contact
Matte...@aol.com
 for more information.
5.3.2   Sound Source Interactive
        2985 E. Hillcrest Dr., Suite A
        Westlake Village, CA 91362

1-800-877-4778

(805)494-9996
        FAX:
(805)495-0016
, 496-4917
        BBS:
(805)373-8589
Patches for TX802 and TX81Z only.
5.3.3   West Broadway Productions
        PO Box 12218
        Beaumont
        TX 77726

wbro...@aol.com
Patches for TX81Z only.
............................................................................
5.4  How do I set up patches for wind control?
5.4.1 General Principles.
      -------------------
[Excerpt from a post to wind-l from Ken Beesley.]
"The MIDI spec is fairly heavily keyboard oriented, and Velocity is very
much a keyboard/percussion kind of notion. It's completely appropriate for
controlling the volume (loudness) of patches where you bonk something
right at the beginning and the overall loudness is dependent on the
strength of that bonk. When you control the volume of your patches by
envelope generators, and when you in turn make those envelope generators
sensitive to velocity, then you have a classic piano/percussion-like
patch.
Straightforward wind control (emulating wind instruments) is quite
different and requires a whole different patch programming paradigm.  The
overall loudness of a wind note is NOT determined by some bonk or other
event right at the beginning; it's determined continuously by your
changing breath control through the whole duration of the note. You might
start a note very softly, crescendo, waver up and down, and cut off the
note at full volume. The volume envelope of each note can be
different--the player becomes the real-time, flexible envelope generator.
When programming for straightforward wind control, the basics are
1. Ignore velocity values.  They have to be there, to make valid Note-ON
        messages. In the WX and EWI, these velocity values are
        basically fillers (although
        somewhat less so in the case of the WX, see below)
2.  Set the envelope generators that control the final amplifier(s) to
        the "square" or neutral shape. Such envelope generators are
        usually wired in, but setting them to the neutral square shape
        causes them to tell the amplifier "as far as I'm concerned,
        play at full volume all the time." If you're converting a piano
        like patch to wind control, these envelope generators are where
        you usually have to turn OFF Velocity sensitivity (this causes
        the patch to ignore velocity values).
3.  Set the amplifiers to be modulated (controlled) by Breath Control
        values. Sometimes this can be done directly. Other times,
        such modulation effectively acts as a valve between the
        envelope generator and the amplifier, letting anywhere from
        all or none of the value from the envelope generator get through
        to the amplifiers. The result is that the output of the
        amplifiers will now be completely controlled, in real-time,
        by how hard you blow.
It is possible to keep using the Velocity value in wind patches to control
the strength of the initial "chiff" of tonguing (rather than the overall
loudness of a note).  There is some merit to this; a tonguing chiff occurs
only at the beginning of a note. However, this plan works fine for WXs,
but not for anything driven by an EWI module. (The Velocity values from a
WX seem to be just a snapshot of the current breath control value, and the
EWI modules send the same non-zero value every time. You can set what that
value will be (64-127), but then it's set until you reprogram the value.)
To handle them both, program the chiff part of the sound so that its
volume is controlled by an envelope that is typically percussive (jumps
quickly to maximum, then drops almost immediately to zero--this will cause
the chiff (of whatever final strength) to be heard only at the beginning
of a note); then make that envelope generator (or its output) sensitive to
Breath Control. On the WXs, the Velocity value is just a copy of the
current BC value, so the result should be indistinguishable from making
the envelope generator sensitive to Velocity."
5.4.2 For use with the WX11
      ---------------------
In the WX11 documentation, there are basic instructions for programming FM
synths for wind control, at least the settings for EG-Bias (via cc#2) and
setting AmpModSens on FM operators.
5.4.3 DXs
      ---
The Sal Gallina book ("Expressive FM Applications") has alleged DX7II
(TX802) and TX81z patches.
5.4.4 An example
      ----------
[This gives an example of how to go about programming a synth. It is for a
uWave.]
     Use breath control (BC) to control the filter frequency and volume of
the sound. So, the sound gets louder and brighter as you blow harder.
    Use the *inversion* of BC to control the Q of the uWave's filter. Thus
the filter is resonant at low BC values (when it is also almost closed, so
the knee is at a lower frequency.) This effect is hard to describe, but it
basically makes it timbrally richer at a low BC while still keeping the
effect of getting "brighter" at higher BC values.  This is not to be
overdone!
    Also use BC to control the sweep through the uWave's wave table. So as
you blow harder I move through the different waves...  this parameter is
smoothed inside the uWave.
    Finally, you can assign an LFO to pan the sound a little and then used
the BC to modulate the amplitude of the LFO.  So as you blow harder the
sound shimmers in stereo.  Just a little of this one... it can be
annoying!
   The result is an expressive sound which is warm and full at low BC
values and gets "exciting" at higher BC values.
***************************************************************************
*                          Section 6: Pricing                              *
****************************************************************************
[Please mail me at the address at the top of the FAQ if you buy/sell a new
or second hand wind controller, so I can update the pricings below.]
6.1  How much do new controllers cost?
The following table gives approximate prices in both the USA and the UK.
                                USA              UK
                                                (inc VAT)
Yamaha:         WX11/WT11       $750-800        GBP 529
                WX11/BT7        $400            GBP 275
Akai:           EWI3020         ?               GBP 349
                EWI3020m        ?               GBP 599
                EWI3030m        ?               GBP 759
Casio:          DH-100          $100            N/A
Synthophone:                    $3450.00        N/A
............................................................................
6.2  How much do second hand controllers cost?
The following table gives the approximate price you could expect to pay
for a second hand controller in "good condition".
                                USA              UK
Yamaha:         WX7/BT7         $300-400        GBP 200
                WX11/WT11       ?               ?
                WT11/BT7        ?               ?
Akai:           EVI1000         ?               N/A
                EWI1000         ?               N/A
                EWV2000         ?               N/A
                EWI3000         ?               N/A
                EWI3000m        ?               N/A
                EWI3020         ?               ?
                EWI3020m        ?               ?
                EWI3030m        ?               ?
Casio:          Any DH          $50-60          GBP 50
****************************************************************************
*                        Section 7: Suggested reading.                     *
****************************************************************************
[If you are interested in reading further about wind controllers, then you
could worse than consult some of the articles in the following list.
Please send an email to the address at the top of the FAQ if you come
across any further references.]
-----------------------
Aftertouch Magazine
June 1987
"WX7 Sound Sheet" This article discusses the production of the
included sound sheet demo recording of Sal Gallina playing the WX7. 1 page
September 1987
"WX7" An introduction to the WX7. 2 pages Also includes a small a note
about using a breath controller with the FB-01.
July 1988
Includes a TX81Z Patch called "Lyricon" designed to be played with a wind
synth.
October 1988
"Breath Controller"
Discusses using the Yamaha BC1 or BC2 breath controller with a keyboard.
2 pages
January 1989
New product release notes on the WX11/WT11.
March 1989
"WX7 Wind Controller"-Getting aquainted with your WX7.
Tips on using the WX7.
2 pages
April/May 1989
"WX7 and TX81Z"
Discusses programming the TX81Z for breath control.
3 pages
-----------------
Downbeat Magazine
November 1989
"Michael Brecker: Re-Charged Sax". Excellent article. Brecker discussing
the EWI1000.
1.5 pages
January 1991 - "Now You See Him..." Article about Michael Brecker's new
album and talks about the EWI1000.
3 pages
 October 1992 - "Brecker Brothers Are BACK!" (cover story)
"The Brecker Brothers: Boogie Out Of Africa", pp. 16-20.
Talks about the EWI, among others things.
June 1992- "Groove Ganster", pp. 21-23.
Jow Zawinul interview.  Shows two photos of Mr. Zawinul with the Korg
PePe, a breath controller with wireless MIDI.
------------------
Electronic Musician Magazine
April 1986
Review of the JL Cooper MIDI Wind Driver.
2 pages
February 1987
Contains a soundsheet recording of Sal Gallina playing a WX7.
February 1988
Akai EVI1000 and EWI1000 review
5 pages
May 1988
Yamaha WX7 review
5 pages
Includes a small article on Sal Gallina.
October 1988
Article "The Akai EVI1000 and EWI1000: A Personal Approach". Some great
tips and tricks!
5 pages
December 1988
Synthophone review
5 pages
January 1989
One Chip Project: "Breath Controlled Expressor project."
Pages 82-85
Also a review of the Casio DH-100.
June 1991
Press release of the Akai X335i breath controller.
December 1991
In depth review of the EWI3000 Wind Controller
6 pages
Feburary 1994
"Model Music"
By: Scott Wilkinson
Article about Sound Modeling
8 pages (p.42-54)
June 1994
Yamaha VL1 review.
By: Scott Wilkinson
6 pages. (p.99-104)
-------------
EQ Magazine
February 1995
"A Breath Of Fresh Air"
How you can spice up your sequences by adding an electronic woodwind.
Interview with Hollywood session player Fred Seldon.
Discusses his use of the EWI.
4 pages
Review of the Yamaha VL1 synthesizer.
By Howard Massey
4 pages
----------------
Expressive FM Applications
By Sal Gallina
c1987 Hal Leonard Publishing Corporation
ISBN 0-88188-762-5
$19.95 U.S.
104 pages
Published by Yamaha Music Foundation and Hal Leonard Publications.
Available through the Mix Bookshelf catalog for $19.95. Yamaha bundled
this book with the WX7. It includes an audio cassette of Sal playing the
WX7 and TX81Z.
---------------
Keyboard Magazine
December 1986
"MIDI Interfacing for the Rest of the Universe". Article discusses
MIDI-ing various acoustic instruments. Talks about the Perkiphone design.
2 pages
Also EVI1000/EWI1000 ad on page 13
July 1987
"Programming and Technique With or Without the Keyboard"
Article on Wind Synthesis.
Also has article on Fred Selden, a prominent L.A. studio wind synthesist
who uses the Akai EWI.
7 pages
October 1987
Akai EVI1000/EWI1000 full page ad
March 1988
Yamaha WX7 review
3 pages
October 1988
Article "Keyboards are for Wimps". About some of the limitations of
keyboard-controlled synthesis and advantages of wind controlled synthesis.
1 page
This issue also contains an article and picture of Mark Isham holding a
Perkiphone MIDI acoustic trumpet.
March 1989
6 pages
A full Akai EWI1000 review
December 1989
Article "Programming Synths for Wind Control"
2 pages
January 1990
Article "Exploring Dynamic Harmony with the Synthophone".
2 pages
August 1991
New EWI3000 ad on page 120
September 1991
Breath controller interface project for the Korg M1.
Page 16
Also EWI3000 ad on page 49
December 1991
Ad for the "Windbox"- a hardware box giving keyboardists breath control
over their Patches.
Page 187
Febuary 1994
"The Next Big Thing"
An article about Sound Modeling.
By: Michael Marans
16 pages. (p.99-118)
June 1994
Yamaha VL1 review.
By: Ernie Rideout
8 pages. (p.104-118)
--------------
Insight Magazine
February 5, 1990
"Musicians Plug Into a New Sound (A New Crop of Electronic Instruments)".
2 pages
------------
MIDI Magazine
March/April 1994
Yamaha WX11 and WT11 review.
By Paul Butler
3 pages
-----------
MIT Journal
article on VL1 ?
-------------
Business Week
11/15/93
Science/Tech section
Julius Smith Inventor
Article on VL1
----------------
American Recorder
(published by The American Recorder Society)
June 1991
"Wired for Sound"
By Matt and Tony Marvuglio
A review of the Suzuki MIDI Recorder SRW-100 and the Yamaha WindJamm'r-EW20.
------------------
Music Technology Magazine
October 1987
Akai EWI1000 and EVI1000 preview
1 page
December 1987
Akai EVI1000 and EWI1000 review
4 pages
Also an excellent interview with Sal Gallina and Nyle Steiner- the designers
of the WX7, EVI1000, and EWI1000 (4 pages).
Music Technology (British Version)
April 1988
Akai EVI1000 and EWI1000 review
3 pages
March 1988
Yamaha WX7 review
4 pages
This issue also has a photo of the hardshell case available from Akai for
the
EVI1000 or EWI1000.
July 1989
Yamaha WX11/WT11 review
3 pages
November 1988
Tom Scott interview, an avid WX7 user. Also a review of the Synthophone- a
MIDI saxophone.
5 pages
Premier Issue (Peter Gabriel on cover)
Half page article and picture on Perkiphone Trumpet to MIDI synthesizer.
April 1988
Review of the Sting EW2 MIDI Wind Controller.
3 pages
February 1988
Review of the Artisyn SX01 MIDI Sax
2 pages
May 1989
"Rehumanize Your Sequences, Part 4: Wind Instruments. Discusses how to
emulate various acoustic wind instruments using a breath controller.
4 pages
December 1986
"Stepping Out". Discusses Steps Ahead and Micheal Breckers' use of the
Steinerphone in this group. Includes a picture of Brecker playing the
Steinerphone with his 1986 set-up.
4 pages
April 1987
News release of the Artsyn MIDI Sax.
Page 7
Review of the Frankfurt Musikmesse. Discusses the release of the EVI1000
and EWI1000. Includes picture of Nyle Steiner playing the Steinerphone.
Pages 50, 51, and 54
February 1988
Akai EVI1000/EWI1000 video tape ad.
---------------
Recording Magazine
January 1995
Yamaha VL1 review.
By Nick Batzdorf
4 pages
"The Controllers- Keyboards and Unkeyboards"
By Nick Batzdorf and Trevor Gilchrist
Discusses the currently available wind controllers and percussion
controllers. Also reviews the Akai EWI3020.
5 pages
"Airto Moreira"
By Lorenz Rychner
Interview with Airto. He mention his horn player, Gary Meeks, who plays an
Akai EWI.
--------------
Saxophone Journal
March/April 1991
"Creative Jazz Improvisation"
An article about the Yamaha WindJammer.
2 pages (p.52-53)
May/June 1991
"The Future Is Now"
About the Prism saxophone quartet which uses wind controllers and the first
California Saxophone and MIDI wind controller festival.
6 pages (p.51-56)
---------------
Recording Magazine
January 1995
This features a VL1 and an Akai EWI-3020 on the cover.
This issue is sort of a wind controller issue. It includes a 4 page review
of the VL1 and VL1-m. There is also an article called "The Controllers"
jthat talks about the currently available alternate controllers such as the
Akai EWI3020.
-----------------
The Mix (available in UK only)
A 4 page review of the Akai 3020/3020m/3030m.
It has ex Tangerine Dream player Steve Jolliffe doing the reviewing, and
also playing a demo track on the cover CD.
***************************************************************************
*                        Section 8: Discography                           *
***************************************************************************
[If you are interested in listening to some professionals playing wind
controllers, check out the following list.]
WITNESS (film soundtrack). Maurice Jarre, composer.  Lots of EVI solos by
Nyle Steiner. 1985. Varese Sarabande STV 81237 (record), CTV 81237
(cassette),and VCD 47227 (CD).
KALEIDOSCOPE. Mike Metheny. EVI solo on one or two cuts. 1988. MCA Impulse
MCA 42023 (record, CD and cassette).
ONE VOICE.  Barbra Streisand.  Live concert. Eight piece band recreated
many Streisand mega hits. EVI solos by Nyle Steiner. 1987. Columbia OC
40788. Also available on video from CBS/Fox Home Video. Nyle demonstrated
the EVI to Streisand and the audience at the end.
ON THE CORNER. John Patitucci. Judd Miller plays EVI on three cuts. 1989.
GRP GRD-9583
THE STILL POINT.  Susan Mazer (Electro-acoustic harp) & Dallas Smith
(woodwinds and EWI).  1990. (CD insert lists Mazer & Smith, PO Box 6391,
Stateline, NV 89449.) ProJazz CDJ 728.
MAGNETIC. Steps Ahead. Michael Brecker plays "Steiner EWI" on 6 cuts.
Oberheim Xpander listed with EWI on 4 cuts. (From the way it is listed,
perhaps two cuts use the Steiner module as the sound source and four cuts
use the Xpander controlled by the EWI).  1986.  Elektra Asylum 60441-1.
MICHAEL BRECKER. Michael Brecker.  Brecker plays EWI on several cuts.  Judd
Miller and Nyle Steiner are included in the "thank yous". 1987 MCA/Impulse.
MCA-5980.
DON'T TRY THIS AT HOME. Michael Brecker.  Brecker plays "Akai EWI" on 3
cuts. Judd Miller is credited as synth programmer in the liner notes.
Jack Sugino and Koh Suzuki from Akai are in the "thank yous" 1988.  MCA
Records MCA 42229.
NOW YOU SEE IT...(NOW YOU DON'T). Michael Brecker.  Brecker plays "Akai
EWI" on 5 cuts. Judd Miller and Sam Zambito are in the "thank yous".  I
remember Sam assisting Brecker with programming and system design around
this time. 1990.  GRP GRD-9622.
STEPS AHEAD-LIVE IN TOKYO 1986. Michael Brecker. In my opinion, its some
of the best stuff Brecker has ever recorded on the EWI, as well as killer
performances from all members of the group
RETURN OF THE BRECKER BROTHERS - LIVE IN BARCELONA.  Brecker Brothers.
Michael Brecker playing the EWI on tracks 5 and 6. GRP-96843.
OUT OF THE LOOP.  Brecker Brothers.  Michael Brecker playing "Akai EWI" on
tracks 4,5,7, and 8.  1994.  GRP 97842.
KENNY G.  Kenny G.  Kenny G playing "Lyricon Mini-Moog wind synthesizer
solo on 'Stop and Go'". (track 3) 1982.  Arista 259337.
DUOTONES.  Kenny G.  Sal Gallina credited for playing "Digital wind
controller".  Also, "Violins, French horns and string sounds on 'Don't
Make me Wait' played by Sal Gallina and violins on 'Esther' played by
Kenny G on the Digital Wind Controller."  1986.  Arista 257792.
A CHANGE OF HEART.  David Sanborn.  Track 6, A Change of Heart: "Michael
Brecker: Steinerphone EWI."  1987.  Warner Bros.  925479-2.
THE RHYTHM OF THE SAINTS.  Paul Simon.  "Akai EWI SYNTHESIZER Michael
Brecker" on tracks 1,3,5,8,9.  1990.  Warner Bros.  7599-26098-2.
RUN FOR YOUR LIFE.  Yellowjackets. Bob Mintzer playing "EWI" on a few
tracks.  1994.  GRP 97542.
SKETCHBOOK.  John Patitucci.  Judd Miller credited for "EVI &
Synthesizer Programming" on track 12.  1990.  GRP 96172.
REED MY LIPS. Tom Scott. CD insert lists Scott playing "horn synth" on one
cut, "synth horn, strings and vibes" on another. 1994 GRP GRD 9752.
RETURN OF THE BRECKER BROTHERS - Brecker Brothers (1992) GRP #GRD-9684
Michael makes good use of his EWI throughout the album
BLACK MARKET - Weather Report (1976) Columbia Records #PC 34099 The only
WP album I know of that Wayne Shorter uses the Lyricon.
AJA - Steely Dan (1977) ABC Records #AA-1006 Tom Scott overdubs several
Lyricons at the beginning of "Peg".
MILE ONE - Random Walk (1991) #RW-521-CD
        (Posting from Dave Matsen <
dma...@execpc.com
>)
        "Produced by Daryl Stuermer (guitarist and writer with Phil
        Collins and Genesis). On this fusion album I play my trusty WX7
        driving a Korg M1, Korg M3R, ESQ-1 and a Kurzweil (1000 series?)
        that was at the studio; as well as my analog Selmer saxes.
        The CD is currently out of print but we do have a few copies left.
        If anyone is interested, please E-mail me and I see if I could ship
        some out. I may be jumping the gun on this since I don't know how
        many copies the group leader has."
LIKE A RIVER - Yellowjackets. Bob Mintzer playing "EWI".
"Guest musicians: ... Judd Miller - EWI programming". 1993. GRP-96892
DON'T SAY IT'S OVER. Randy Crawford, vocals. Steve Tavaglioni plays and EWI
"harmonica" solo on the title cut. Warner Bros. 45381-2
WHAT'S INSIDE. New York Voices (five vocalists and a back-up band). On "The
Sultan Fainted", one of the vocalists, Darmon Meader, plays an "Akai EWI"
solo. John Tendy is credited with "EWI sound programming". GRP GRD-9700
--
Bye-by:
Stv
----------------------------------------------------------------------------
La musica è al tempo stesso il linguaggio più completo per
comunicare i sentimenti e il più difficile da interpretare. (A.S.)
ste...@inwind.it
 (Generic E-Mail)
s...@libero.it
 (Music E-Mail - SoundOnSound Recording Xtudio)
ste...@ondanomala.com
 (Ondanomala E-Mail)
http://www.ondanomala.com
 (Sito ufficiale Ondanomala)
http://free.kyberlandia.it/Steeve/
 (Sito con MP3)
----------------------------------------------------------------------------


title: Breath Controller e fiati

author: LucA

text:
Musicland wrote:
> p.s. il mio BC02 giace sulla libreria geloso del WX con cui
> giocherello.....Che dici: lo riesumo?
Non crederai di essere l'unico qui ada vere un WX7, vero? eheheheh. Cmq
per il VL1 trovo molto più pratica l'accoppiata Breath e wheel che non
il WX7. Sarà che non me la cavo troppo bene come saxofonista...
ciao
LucA


title: Breath Controller e fiati

author: Musicland

text:
"~|含eeve|~" <
s...@libero.it
> ha scritto nel messaggio
news:iKoC5.1025$NY2....@news.infostrada.it...
> Per chi volesse approfondire l'argomento... ;-)
>
>
Thanks Steeve
ciao
peu


title: Breath Controller e fiati

text:
Niente! Sono sempre felicissimo di rendermi utile!



title: Sound Diver

author: Gianni Varrica

text:
Ragazzi, mi serve un link per scaricare un demo dell'emagic sound diver. Nel
sito ufficiale c'è soltanto una versione per Mac.
Grazie a tutti.
Gianni


title: Sound Diver

author: Steeve

text:
"Gianni Varrica" <
gianni....@libero.it
> ha scritto
> Ragazzi, mi serve un link per scaricare un demo dell'emagic sound diver.
Nel
> sito ufficiale c'è soltanto una versione per Mac.
Accidenti, è vero, ormai non supporta più i sw x PC....*#!%*#
Visto il colpo gobbo di Emagic direi che potremmo cominciare a far circolare
le versioni piratate...per noi utenti è l'unica soluzione! Oppure puntare su
MidiQuest 8, un altro editor universale molto interessante: si integra
infatti con Cubase e permette la gestione dei suoni direttamente da VST.
Bisognerebbe provare con SX....
--
Bye-by:
Stv
---------------------------------------------------------------------------
La musica è al tempo stesso il linguaggio più completo per
comunicare i sentimenti e il più difficile da interpretare. (A.S.)
steeve@NSPMinwind (Generic E-Mail)
sos@NSPMlibero (Music E-Mail - SoundOnSound Recording Xtudio)
ste...@NSPMondanomala.com (Ondanomala E-Mail)
http://www.ondanomala.com
 (Ondanomala Site)
http://steeve76.interfree.it/
 (Links, Infos & Patches for Keys Players)
---------------------------------------------------------------------------


title: Sound Diver

author: Lorenzo Benaglia

text:
"Steeve" <
NS...@libero.it
> wrote in message
news:B4gw9.100792$RO.25...@twister1.libero.it...
> "Gianni Varrica" <
gianni....@libero.it
> ha scritto
> > Ragazzi, mi serve un link per scaricare un demo dell'emagic sound diver.
> Nel
> > sito ufficiale c'è soltanto una versione per Mac.
>
> Accidenti, è vero, ormai non supporta più i sw x PC....*#!%*#
Fermi, fermi la versione per PC è ancora presente sui servers, solo che
hanno rimosso i links dal sito... Che babbi!!
Provate a fare click su
http://www.emagic-mirror.com/pub/sounddiver/sd30demo.exe
o se preferite
ftp://ftp2.emagic.de/pub/sounddiver/sd30demo.exe
Ciao!
--
Lorenzo


title: Sound Diver

author: Jacopo Mordenti

text:
> Visto il colpo gobbo di Emagic direi che potremmo cominciare a far
circolare
> le versioni piratate...per noi utenti è l'unica soluzione!
Se Maometto non va alla montagna...
>Oppure puntare su
> MidiQuest 8, un altro editor universale molto interessante: si integra
> infatti con Cubase e permette la gestione dei suoni direttamente da VST.
> Bisognerebbe provare con SX....
Potresti indicare un link ? Garzie mille !
Ciao !
Jacopo


title: Sound Diver

text:
"Jacopo Mordenti" <
fulg...@libero.it
> ha scritto
> Potresti indicare un link ? Garzie mille !
Dovrebbe essere tra i link del NG, ma forse no....quindi ecco il link:
http://www.soundquest.com/



title: [cerco]Korgo pa80

author: Pasaico

text: contatti in email grazie mille!


title: Le uova di pasqua fanno male?

author: Riptide

text:
Mmm sbaglio o da Pasqua in poi il tono del newsgroup è un po' calato??
Saranno gli ovuli di pasqua che ci hanno fatto male...


title: Siel Opera 6

author: joe zarlingo

text:
Che strumento č?
Quanto puň valere?
me ne offrono uno a 250?: č un furto?
Grazie


title: Siel Opera 6

text:
"joe zarlingo" <
pnon...@hotmail.com
> wrote in message
news:hb699.86738$n04.2...@twister2.libero.it...
> Che strumento č?
> Quanto puň valere?
Trovi un po' di info qua:
http://www.vintagesynth.org/misc/siel_opera6.shtml
Qui ci sono alcune recensioni:
http://www.harmony-central.com/Synth/Data/Siel/Opera-6-01.html
Infine su questo sito sono reperibili i manuali, alcune foto e un dump
"audio" delle patches in formato MP3:
http://home-1.tiscali.nl/~smeyer/siel/opera6.htm
> me ne offrono uno a 250?: č un furto?
Premetto che non conosco il valore di mercato di questo strumento, ma
girando su Google ho notato alcune inserzioni che lo stimano $300,
L.500.000, L.600.000 quindi mi sembra un prezzo "onesto".
Sicuramente altri esperti piů autorevoli di me sapranno consigliarti.
Ciao!
--
Lorenzo


title: Roland P-90

author: Portabilizzato

text:
No, non ho sbagliato... eheheh. Intendo dire, c'è nel catalogo Roland un
piano paragonabile per peso e caratteristiche di suono al p-90 Yamaha?


title: Roland P-90

text:
"Portabilizzato" <falsea...@im.sorry> ha scritto nel messaggio
news:1r2ynglqkz3je$.ktnlmfin53km$.dlg@40tude.net...
> No, non ho sbagliato... eheheh. Intendo dire, c'è nel catalogo Roland un
> piano paragonabile per peso e caratteristiche di suono al p-90 Yamaha?
Nella stessa fascia di prezzo, al momento no....
ma ci saranno sviluppi in futuro, per quanto ne so.
--
saluti
peu
Il sito è in costante aggiornamento.
http://xoomer.virgilio.it/musiclandstudio


title: Roland P-90

text:
Il Tue, 28 Mar 2006 22:31:43 +0200, Musicland ha scritto:
> Nella stessa fascia di prezzo, al momento no....
> ma ci saranno sviluppi in futuro, per quanto ne so.
Grazie.


title: LINK (1)

text:
Ecco l'elenco di tutti i link pubblicati su questo NG fino ad oggi:
***Info Generiche:
COMPUTER MUSIC:
http://www.mageo.cz/home/COMPUTER_MUSIC/
ORGANI:
www.neomedia.it/amicidellorgano
MUSIC COMPUTER:
http://www.software-technology.com/frames.htm
*** Negozi Italiani
>
http://www.biasin.com/
>
http://www.essemusic.it/
>
http://www.promusic.net/
>
http://www.luckymusic.com/
>
http://www.webeco.it/musicshop/
>
www.musicarte.com
>
www.ddreams.it
>
www.emporiomusicale.com
>
www.merula.com
>
www.battistini.com
>
www.organstudio.com/menu.htm
>
www.verdepro.com/verdopro/italy/menu.htm
*** Negozi Esteri
>
http://www.piens.com/frames.htm
>
http://www.keyboardshop.com/
>
http://www.musicstorekoeln.de/
 (Germania )
>
http://www.turnkey.uk.com/
 (UK)
Qualche americano:
>
http://www.samash.com/
>
http://www.guitarcenter.com/
>
http://www.marsmusic.com/
*** Mercatini
>
http://www.dimanet.com/mercatino/index.html
>
http://www2.yeaah.com/yeaah/mercatino/strument.htm
>
http://www.chouse.it/AAA/MUSICA/Strumenti.html
>
http://www.arcobaleno.it/usato.htm
>
http://www.impnet.com/il_bagatto/mercatino/index.html
>
http://www.battistini.com/usato.htm
>
http://www.essemusic.it/cpu.html#offerte
--
Bye-by:
Stv
-----------------------------------------------------------------
La musica è al tempo stesso il linguaggio
più completo per comunicare i sentimenti
e il più difficile da interpretare.
ste...@tiscalinet.it
http://www.ondanomala.com
-----------------------------------------------------------------


title: LINK (1)

author: Francesco

text:
C'è anche
http://www.casadeldisco.it
Steeve <
ste...@tiscalinet.it
> wrote in message
83ba6d$h4g$3...@lacerta.tiscalinet.it...



title: korg i5s usata

author: St

text:
vorrei iniziare a  suonare la tastiera e avrei la possibilità di comprare da
1 mio amico 1 korg i5s.
non mi ha detto a quanto la vende ma l'ha pagata quasi 2 milioni di vecchie
lire. come va? a quanto potrei comprarla? ne vale la pena o x iniziare si
trova anche sul nuovo di meglio? ovviamente vorrei non spendere tanto...
grazie
ciao
Stefano


title: korg i5s usata

text:
io fossi in te non spenderei più di 400 euro....
ciao, Matteo.


title: korg i5s usata

author: Skus

text:
350-400 euro
per iniziare è un buon arranger, comunque
"St" <
steolin...@libero.it
> wrote in message
news:Fwax8.52413$vF6.1...@news2.tin.it...



title: korg i5s usata

author: Antony

text:
"St" <
steolin...@libero.it
> wrote in message
news:Fwax8.52413$vF6.1...@news2.tin.it...
>

Se può interessarti,posso proporti una Korg iX300,sicuramente meglio
della i5S se non altro per la presenza dell'Aftertouch monofonico,
per la Rom Sound da 14 mega(la i5S ne ha 6..),per il totale Edit
Sound  ed Edit Song,per l'editaggio minuzioso degli effetti
(caratteristiche identiche ai synth Korg 01W,X ed N series).
Le condizioni sono assolutamente perfette ed è compresa anche la
custodia rigida,manuali in italiano,migliaia di nuovi programs e
arrangiaments.Chiedi pure su questo NG se conviene acquistare la
i5S oppure la iX300 tenendo conto che anche la iX300 costava nel
1997 circa 2,7 milioni.Della iX300 chiedo  516 euro.
Saluti
Antony
--
Posted via Mailgate.ORG Server -
http://www.Mailgate.ORG


title: korg i5s usata

text:
di dove sei?
sul nuovo cosa conviene?
grazie
ciao
"Antony " <
rad...@freemail.it
> ha scritto nel messaggio
news:23a52ce4ca45b7c00d6...@mygate.mailgate.org...



title: korg i5s usata

text:
"St" <
steolin...@libero.it
> wrote in message
news:54ex8.53785$vF6.1...@news2.tin.it...
> di dove sei?
> sul nuovo cosa conviene?
> grazie
> ciao
Sono residente in provincia di Catania.
La Korg iX300 era di un mio amico di Lecco
a cui ho venduto una WK4Plus permutando
la suddetta tastiera.
Per altre info usa questa E-mail:
semca...@tiscalinet.it



title: partiture

author: Andrea

text:
Sono un newbie della tastiera, sapreste dirmi dove posso trovare partiture
per tastiera o piano?
Grazie
Andrea


title: partiture

author: Kentropy

text:
Per classica :
http://www.sheetmusicarchive.net/


title: partiture

text:
ti ringrazio ma a me interessano pezzi tipo: simply red(something got me
started)
grazie cmq per la risposta immediata
"Kentropy" <kent...@REMOVEME-libero.it> ha scritto nel messaggio
news:SZUr9.47498$RO.11...@twister1.libero.it...
> Per classica :
http://www.sheetmusicarchive.net/
>
>


title: cerco tastierista

author: Donzauker

text:
Salve a tutti,
io ed il mio gruppo stiamo cercando un nuovo tastierista. Il nome della band
è "DiVerso InVerso", il nostro genere spazia dal rock 'n roll
al rock blues fino al rock progressive anni 70. Cerchiamo un tastierista in
zona Santa Marinella, Ladispoli, Civitavecchia, Cerveteri, Santa Severa,
Tarquinia.
Chi interessato può contattarmi rispondendo a questo post
Buon pomeriggio a tutti


title: Quali driver midi per winxp?

author: Atreus

text:
Vorrei semplicemente sapere quali driver midi devo scaricare per win xp e
dove, per collegare il synth al computerozzo!
Grazie
--
questo articolo e` stato inviato via web dal servizio gratuito
http://www.newsland.it/news
 segnala gli abusi ad
ab...@newsland.it


title: Quali driver midi per winxp?

text:
Atreus wrote:
> Vorrei semplicemente sapere quali driver midi devo scaricare per win xp e
> dove, per collegare il synth al computerozzo!
dipende dall'interfaccia midi che stai cercando di usare.....


title: Quali driver midi per winxp?

text:
k4L1 ha scritto:
> dipende dall'interfaccia midi che stai cercando di usare.....
Semplicemente un cavo che va dalla porta host del synth (xp-30) alla porta
seriale (COM) del pc.



title: Quali driver midi per winxp?

author: Barone

text:
> > dipende dall'interfaccia midi che stai cercando di usare.....
>
> Semplicemente un cavo che va dalla porta host del synth (xp-30) alla porta
> seriale (COM) del pc.
i driver per le porte seriali dovrebbero essere forniti insieme al synth,
(nel tuo caso insieme all'editor per il synth) ma dubito che gli
aggiornamenti relativi all'XP-30 arrivino fino a winXP.
saluti
Barone


title: Quali driver midi per winxp?

text:
Atreus wrote:
> Semplicemente un cavo che va dalla porta host del synth (xp-30) alla porta
> seriale (COM) del pc.
che - quindi - non c'entra niente con il MIDI.
--
Kali


title: ~Cerco software per tastiera

author: Whitesnake

text:
Una volta usavo il big boss ma oggi mi dicono che cubase sia il migliore, č
vero ?
Qualcuno se ne vuole disfare a buon prezzo ?
(non importa se non č l'ultima versione)
Tnx
--
                           __
    (\    .-.     .-.    /_ " )
     \\_//^\\_//^\\_//
      `"`    `"`     `"`


title: CERCO TASTIERA

author: Count Mebi

text:
Ciao sono Claudio e sono un musicista compostitore
(
http://www.vitaminic.it/
 cercate di Count Mebi) e sto cercando una
tastiera usata tipo Korg MK1 a basso prezzo (max. 100 Euro).
Spero possiate aiutarmi o per lo meno consigliarmi una tastiera simile.
Andate a sentirvi i miei lavori sopratutto se vi piace l'industrial e le
le cose un po' folli...
Ciao Claudio


title: CERCO TASTIERA

text:
> Ciao sono Claudio e sono un musicista compostitore
> (
http://www.vitaminic.it/
 cercate di Count Mebi) e sto cercando una
> tastiera usata tipo Korg MK1 a basso prezzo (max. 100 Euro).
se intendi Korg M1 100 euro è un po' pochino non credo troverai nessuno
disposto a sbarazzarsene per quel prezzo, l'usato si aggira intorno a 250
euro, cent + cent -.



title: Come fare?

author: nutella

text:
Ciao
Ho comprato , d' occasione ,  un clavinova cvp 303 .
Non ho mai suonato una tastiera , ma questa mi piace perchè in
corrispondenza dei tasti si accende il led e si vede lo spartito  , e la
cosa mi intriga...
Ho alcuni file midi che suonano senza che appaia lo spartito e relativa
accensione dei led.
Andando alla ricerca li trovo su un canale midi che non pilota la funzione
assist , per avere l' accensione dei led.
Come fare per portare la traccia in modo d' avere questa funzione?
Grazie.
N.


title: [OT] Cerco tastierista a Firenze

author: Lello Vitello

text:
Salve, sono un cantautore comico e come da oggetto cerco a Firenze e
dintorni un tastierista per formare un duo musicale - comico -
cabarettistico, un po' sullo stile di Bobo Rondelli col suo
inseparabile "Bradipo"
Richiedo spirito, voglia di divertirsi, attitudine all'improvvisazione,
disponibilitï¿œ. In un secondo tempo si puï¿œ pensare di estendere la
formazione.
Per avere un'idea di dove si va a parare, visitate
www.lellovitello.it
Un saluto all'impegnatissimo Joe Zarlingo che giï¿œ mi supportï¿œ e
sopportï¿œ anni addietro!
--
Lello Vitello cantautore alla bona
www.lellovitello.it


title: Alan Parson in tv

author: pippo

text:
Ciao
Faccio zapping con il telecomado domenica mattina, e chi ti vedo ?
Dalle prime note mi ricorda una vecchia canzone di trent'anni fa.
Non ci credo e torno su quel canale , e ascolto ancora un po' .... è il
famoso brano " in the sky" di Alan Parson.
Intanto l' inquadratura è su una Yamaha Motif.
Io aspetto una inquadratura a campo largo per vedere chi è la band.
Non credo ai miei occhi .....è lui , proprio lui ....Alan Parson in persona.
Ingrassato , altissimo.
Suona e canta dal vivo , inizia con la tastiera e poi passa alla chitarra
Quanti ricordi .... i miei 17 anni........ la mia prima tastiera Farfisa
vip400..... le mie fidanzatine.....
ricordi......
Comunque , quello su cui vorrei soffermarmi è la presenza massiccia in tv
del marchio Yamaha.
Non c' è pianista , o tastierista , che non usi in tv uno strumento Yamaha.
Persino alla fiera della musica a Milanodi quest' anno , davanti allo stand
della Roland , la band che suonava aveva una tastiera Yamaha Motif....
La Yamaha è la migliore  o è solo una questione di marketing?
P.
P.


title: Alan Parson in tv

author: Luca Sasdelli

text:
Nel suo scritto precedente, pippo ha sostenuto :
> Non credo ai miei occhi .....è lui , proprio lui ....Alan Parson in persona.
> Ingrassato , altissimo.
Da qualche parte c'era un video della GMedia all'ultimo NAMM con un
Rick Wakeman ciccione, riconoscibile principalmente dalle orecchie a
sventola :-)
> La Yamaha è la migliore  o è solo una questione di marketing?
Non ho esperienza di workstations, solo di synth e con Yamaha mi sono
sempre trovato con prodotti tecnologicamente validi, un po' come con
Roland, anche se li trovo privi dello "spirito" che anima macchine piu'
specializzate: sono da sempre un fan di ARP, ho avuto Sequential e ne
ricavo un feedback molto migliore. Ma e' sicuramente una questione di
gusti.
Ciao
Luca
--
Luca Sasdelli
Microsoft MVP - Server, Security


title: Alan Parson in tv

author: fafariata

text:

Eye in the sky...
--
fafariata
Il talento è la capacità di imparare, il genio è la capacità di
evolversi...
http://www.myspace.com/fabianafatuzzo
------------------------------------------------------------------------
fafariata's Profile:
http://www.sonicbands.it/member.php?userid=468
View this thread:
http://www.sonicbands.it/showthread.php?t=49763


title: Cerco Cubase Audio XT 3.0 originale

author: djstudio

text:
cerco il programma in oggetto in originale (con chiave hardware).
E'
quello che pilota il CBX-D5 della yamaha.
Risposte in e-mail, togliere
-nospam dopo
libero.it
--------------------------------
Inviato via
http://usenet.iol.it


title: The Best Synth Ever...

author: El-DoX

text:
Allora, kui vi voglio proprio vedere, forza!
Ah, motivate le vostre scelte!
---
"I may be new to individuality, but I'm not ignorant to human behavior. I've
noticed your attempts to engage me in idle conversation. And I see how your
pupils dialate when you look at my body."
>> 7 of 9, see this beautiful Borg on
http://www.jerilynn.com/
Official Star Trek's "7of9 Balla sul Cubo" member n°37/100
http://7di9.cjb.net/


title: Korg

text:
Scusate,ma le uniche differenze tra la korg pa1x e la pa1x pro sono le
casse e il numero di tasti,61 e 76?
--
Bunuel86
------------------------------------------------------------------------
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http://www.sonicbands.it/member.php?userid=1168
View this thread:
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title: [OT] L'ho trovata!!!!! (era: [OT] Ma una patch bay non la vende nessuno?????)

author: ~|§teeve|~

text:
Finalmente l'ho trovata: una Roland A880 (programmabile, 8in-8out e
supportata da SoundDiver).
E vi dirò di più: è nuova! Sì, era un fondo di magazzino rimasto a Genova
fino al Novembre scorso. Poi è rimasto su uno scaffale di un negozio di
articoli musicali finchè non sono arrivato io! C'era ancora il vecchio
prezzo: 810mila (azz!), ma sono riuscito a strappare un vantaggioso sconto
del 57% (Siamo in peridodi di saldi no?:-) Recuperando l'IVA poi la piccola
mi costa solamente 280mila. Un affare no?  Usata l'ho vista tra le 300 e le
750mila...
Beh, per fortuna anche io ogni tanto concludo qualche affare!
--
Bye-by:
Stv
----------------------------------------------------------------------------
La musica è al tempo stesso il linguaggio più completo per
comunicare i sentimenti e il più difficile da interpretare. (A.S.)
ste...@inwind.it
 (Generic E-Mail)
s...@libero.it
 (Music E-Mail - SoundOnSound Recording Xtudio)
ste...@ondanomala.com
 (Ondanomala E-Mail)
http://www.ondanomala.com
 (Sito ufficiale Ondanomala)
http://free2.kyberlandia.it/Steeve/
 (Sito con Links, Infos & Patches)
----------------------------------------------------------------------------